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Author: Egon Schiele
Publisher:
ISBN: 9781849766371
Category :
Languages : en
Pages : 72
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Book Description
Author: Egon Schiele
Publisher:
ISBN: 9781849766371
Category :
Languages : en
Pages : 72
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Book Description
Author: Mark Haworth-Booth
Publisher: Getty Publications
ISBN: 9781606060254
Category : Art
Languages : en
Pages : 168
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Book Description
Life and work of the French photographer Camille Silvy (1834-1910).
Author: Patrick Elliott
Publisher: Gallery of Scotland
ISBN: 9781911054054
Category : Art
Languages : en
Pages : 0
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Book Description
British realist art of the 1920s and 1930s is visually stunning - strong, seductive and demonstrating extraordinary technical skill. Despite this, it is often overshadowed by abstract art. This book presents the very first overview of British realist painting of the period, showcasing outstanding works from private and public collections across the UK. Of the forty artists featured in the show, many were major figures in the 1920s and 1930s but later passed out of fashion as abstraction and Pop Art became the dominant trends in the post-war years. In the last decade their work has re-emerged and interest in them has grown. Interwar realist art embraces a number of different styles, but is characterised by fine drawing, meticulous craftsmanship, a tendency towards classicism and an aversion to impressionism and visible brushwork. Artists such as Gerald Leslie Brockhurst, Meredith Frampton, James Cowie and Winifred Knights combine fastidious Old Master detail with 1920s modernity. Stanley Spencer spans various camps while Lucian Freud's early work can be seen as a realist coda which continued into the 1940s and beyond. Exhibition: Scottish National Gallery of Modern Art, Edinburgh, Scotland (01.07. - 29.10.2017).
Author: Martin Gayford
Publisher: Thames & Hudson
ISBN: 0500774242
Category : Art
Languages : en
Pages : 467
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Book Description
Martin Gayford’s masterful account of painting in London from the Second World War to the 1970s, illustrated by documentary photographs and the works themselves The development of painting in London from the Second World War to the 1970s has never before been told before as a single narrative. R. B. Kitaj’s proposal, made in 1976, that there was a “substantial School of London” was essentially correct but it caused confusion because it implied that there was a movement or stylistic group at work, when in reality no one style could cover the likes of Francis Bacon and also Bridget Riley. Modernists and Mavericks explores this period based on an exceptionally deep well of firsthand interviews, often unpublished, with such artists as Victor Pasmore, John Craxton, Lucian Freud, Frank Auerbach, Allen Jones, R. B. Kitaj, Euan Uglow, Howard Hodgkin, Terry Frost, Gillian Ayres, Bridget Riley, David Hockney, Frank Bowling, Leon Kossoff, John Hoyland, and Patrick Caulfield. But Martin Gayford also teases out the thread weaving these individual lives together and demonstrates how and why, long after it was officially declared dead, painting lived and thrived in London. Simultaneously aware of the influences of Jackson Pollock, Giacometti, and (through the teaching passed down at the major art school) the traditions of Western art from Piero della Francesca to Picasso and Matisse, the postwar painters were bound by their confidence that this ancient medium could do fresh and marvelous things, and explored in their diverse ways, the possibilities of paint.
Author: Kai Wiedenhöfer
Publisher:
ISBN: 9783869302072
Category : Gaza Strip
Languages : en
Pages : 0
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Book Description
For more than 20 years Kai Wiedenhöfer has been taking photographs in the Middle East, a place where many journalists and photographers have covered the Israeli-Palestinian conflict. Yet Wiedenhöfer is unique in that he concentrates exclusively on Gaza, and often remains there to take photos long after the media has moved onto more 'pressing' news stories. Even in 2009 after the offensive of the Israeli army, Wiedenhöfer remained in Gaza. During this time he took disturbingly quiet, almost repetitive pictures of the bleak aftermath of the war that form The Book of Destruction. Wiedenhöfer ́s images of crumbling ruins and maimed civilians are a powerful landscape of disquiet and destruction.
Author: Eleanor Clayton
Publisher:
ISBN: 9781849760324
Category : Art
Languages : en
Pages : 64
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Book Description
Art Turning Left is the first exhibition to examine how the production and reception of art has been influenced by left-wing values, from the French Revolution to the present day. Art Turning Left is a thematic exhibition, based on key concerns that span different historical periods and geographic locations. They range from equality in production and collective authorship to the question of how to merge art and life. The exhibition moves away from the political messages behind the works and claims about the ability of art to deliver political and social change, and instead focuses on the effect political values have had on the processes, aesthetics and display of artworks.
Author: Sarah Howgate
Publisher: Princeton University Press
ISBN: 0691176620
Category : Art
Languages : en
Pages : 208
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Book Description
Published to accompany an exhibition held at the National Portrait Gallery, London, 9 March-29 May 2017
Author: MARIAN. BISANZ-PRAKKEN
Publisher:
ISBN: 9781912520145
Category :
Languages : en
Pages :
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Book Description
Author: Terry Barrett, Professor
Publisher: McGraw-Hill Education
ISBN: 9780073526539
Category : Art
Languages : en
Pages : 320
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Book Description
This brief text is designed to help both beginning and advanced students of photography better develop and articulate thoughtful criticism. Organized around the major activities of criticism (describing, interpreting, evaluating, and theorizing), Criticizing Photographs provides a clear framework and vocabulary for students' critical skill development.
Author: Val Williams
Publisher:
ISBN: 9780500022061
Category : Seaside resorts
Languages : en
Pages : 0
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Book Description
How has the seaside been photographed? From the roaring waves of the nineteenth century through the reportage of the 1960s and the critical documentary of the 80s and 90s, to what is perhaps the more intimate work of the last ten years. No-one can tell it exactly the way it is. We all have a vision of the seaside which is uniquely our own. Memories, false and real, are aided and abetted by photography, a unique, fascinating, but in the end unreliable source of evidence. And time changes everything. What remains are a set of substantial fragments, thoughts along the way, obsessions, records, constructions, journeys. Ours for the taking
